The show begins with an invitation to Fabrice Mazliah, a long-time performer and collaborator with the Forsythe Company, to create something echoing the master's work. Then we enter the heart of Forsythe's structuralist writing with Quintett, a classic marked by the virtuoso pointe work The evening ends with One Flat Thing, reproduced, another classic that resembles a dizzying show-jumping competition.
Sheela Na Gig, popular songs
In Sheela Na Gig, commissioned by the Lyon Opera Ballet, Fabrice Mazliah often uses the voice to highlight the actions of his dancers on stage. Drawing on a body of popular songs linked to the status of women, he explores what lies behind being a female performer on stage, thwarting gender stereotypes in a dance nourished by sharing and solidarity.
Quintett, structuralism and balance
Virtuoso balancing, extreme stretches, Quintett is in a similar vein to Forsythe's structuralist dances. On the stage stands a projector directed towards an open hatch. Two dancers emerge and try to reach the aerial world despite savage attacks from three other dancers. An endlessly repetitive piece whose empathetic emotion blossoms to the sound of music by Gavin Bryars.
One Flat Thing, reproduced, Olympic spirit (and body)
One Flat Thing, reproduced, nicknamed William Forsythe's Olympics, shows the power of movement in cleverly orchestrated disorder: a wild route between large tables that have become rafts or living areas between sky and earth. The dancers, who have become objects of the system, move between these platforms, offering us different points of view on this unusual unrest.
Sheela Na Gig
One Flat Thing, reproduced